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The Legend of Zelda: Ocarina of Time news, direct from the production area! The Zelda team chosen by Shigeru Miyamoto | The Legend of Zelda: Ocarina of Time news, direct from the production area! The Zelda team chosen by Shigeru Miyamoto | ||
created Zelda 64 with surprising stubbornness! One part of that stubbornness was to do a stubborn interview. We'll pass | created Zelda 64 with surprising stubbornness! One part of that stubbornness was to do a stubborn interview. We'll pass | ||
on a small part of that interview from the top of Hobonichi's nearby tree. <br><br> | on a small part of that interview from the top of Hobonichi's nearby tree. <br/><br/> | ||
<hr> | <hr> | ||
<br> | <br/> | ||
<b>(1-10) Looks Like the Animation is Incredible in This Zelda (Part 2)</b><br><br> | <b>(1-10) Looks Like the Animation is Incredible in This Zelda (Part 2)</b><br/><br/> | ||
<b>Naoki Mori (Cinema Scene Director):</b> Another person and I were in charge of the demo production, but since we both liked | <b>Naoki Mori (Cinema Scene Director):</b> Another person and I were in charge of the demo production, but since we both liked | ||
movies I think we had a foundation to work from. I graduated from the film department in university, but when I joined | movies I think we had a foundation to work from. I graduated from the film department in university, but when I joined | ||
Nintendo the Super Famicom was still the major system and there wasn't much film-type work for me to do. Now that I'm | Nintendo the Super Famicom was still the major system and there wasn't much film-type work for me to do. Now that I'm | ||
able to, I'm pretty happy about it.<br><br> | able to, I'm pretty happy about it.<br/><br/> | ||
It was the first time for either of us to work on a Zelda game, so consequentially we found ourselves occasionally | It was the first time for either of us to work on a Zelda game, so consequentially we found ourselves occasionally | ||
groping around for the right way to do things. When you compare it to the rendering of polygons on the CD-ROM games, the | groping around for the right way to do things. When you compare it to the rendering of polygons on the CD-ROM games, the | ||
information volume of movies fails. I was trying to think of a way we could cover that. In the end, I spent all my time | information volume of movies fails. I was trying to think of a way we could cover that. In the end, I spent all my time | ||
fussing with the camerawork.<br><br> | fussing with the camerawork.<br/><br/> | ||
I wanted to do camerawork that could only be accomplished in a polygon game. If we were doing a live scene, for example, | I wanted to do camerawork that could only be accomplished in a polygon game. If we were doing a live scene, for example, | ||
we'd have to put together the set with cranes or something. CG is really practical for creating scenes freely.<br><br> | we'd have to put together the set with cranes or something. CG is really practical for creating scenes freely.<br/><br/> | ||
We also wanted to have something more beautiful than a fixed layout. We thought about the camera movements in relation | We also wanted to have something more beautiful than a fixed layout. We thought about the camera movements in relation | ||
to the action scenes and the symmetry needed for the emotional scenes.<br><br> | to the action scenes and the symmetry needed for the emotional scenes.<br/><br/> | ||
With the limited information volume of polygons, we initially recognized that we might not be able to improve the quality | With the limited information volume of polygons, we initially recognized that we might not be able to improve the quality | ||
of the characters' facial expressions. However, during the stage when we incorporated the angles, scenarios, and direction | of the characters' facial expressions. However, during the stage when we incorporated the angles, scenarios, and direction | ||
we tried to make them symbolic. We made textures for Zelda to have her looking sideways at Link, for example, thinking a | we tried to make them symbolic. We made textures for Zelda to have her looking sideways at Link, for example, thinking a | ||
setup like that would work great.<br><br> | setup like that would work great.<br/><br/> | ||
When the polygons freeze, their information volume suddenly greatly decreases. In the beginning when Link stood still, the | When the polygons freeze, their information volume suddenly greatly decreases. In the beginning when Link stood still, the | ||
camera fixed itself, but the information volume was too small. So we made a wait animation, in short, a basic animation, | camera fixed itself, but the information volume was too small. So we made a wait animation, in short, a basic animation, | ||
made from the animation when Link is standing perfectly still, we derived all animations from that.<br><br> | made from the animation when Link is standing perfectly still, we derived all animations from that.<br/><br/> | ||
In terms of the animation, we divided the work between programming and animating, deciding which to apply where. Finally | In terms of the animation, we divided the work between programming and animating, deciding which to apply where. Finally | ||
this year we established which method to use.<br><br> | this year we established which method to use.<br/><br/> | ||
The very first Space World version was just a simple demo but I didn't think it was frightening or dreamlike so we fixed | The very first Space World version was just a simple demo but I didn't think it was frightening or dreamlike so we fixed | ||
it by adding sound effects like "KABOOM!", cut the sequences to make them shorter, and had a black fadeout. Eventually | it by adding sound effects like "KABOOM!", cut the sequences to make them shorter, and had a black fadeout. Eventually | ||
all the little cuts accumulated and we were able to produce that dreamlike feeling, something I was very happy about.<br><br><br><br> | all the little cuts accumulated and we were able to produce that dreamlike feeling, something I was very happy about.<br/><br/><br/><br/> | ||
<b>Toshio Iwawaki (Program Director):</b> Last year, we had a lot of trouble getting ready for Space World. At the very last | <b>Toshio Iwawaki (Program Director):</b> Last year, we had a lot of trouble getting ready for Space World. At the very last | ||
minute, our playable demo's animation patterns disappeared. The movement reactions were slow and most of the animation | minute, our playable demo's animation patterns disappeared. The movement reactions were slow and most of the animation | ||
vanished. I felt it was really a disappointment because we had worked so hard on making the animation beautiful. The | vanished. I felt it was really a disappointment because we had worked so hard on making the animation beautiful. The | ||
response of the players was really important to us. What a waste…<br><br> | response of the players was really important to us. What a waste…<br/><br/> | ||
We made some changes after Spaceworld. For example, before you'd press the button to draw your sword and then press again | We made some changes after Spaceworld. For example, before you'd press the button to draw your sword and then press again | ||
to swing, which lead to complaints of the animation being slow, so we changed it so you could draw and swing with one tap. | to swing, which lead to complaints of the animation being slow, so we changed it so you could draw and swing with one tap. | ||
But Link drawing his weapon and swinging suddenly didn't make for a picturesque movement, we wanted the player to see Link | But Link drawing his weapon and swinging suddenly didn't make for a picturesque movement, we wanted the player to see Link | ||
taking the time to unsheathe his weapon first and changed it a little accordingly. *laughs*<br><br> | taking the time to unsheathe his weapon first and changed it a little accordingly. *laughs*<br/><br/> | ||
Super Mario 64's frame rate is 30 frames a second, but Ocarina of Time's is only 20. I wanted it to go more quickly, but | Super Mario 64's frame rate is 30 frames a second, but Ocarina of Time's is only 20. I wanted it to go more quickly, but | ||
speeding it up made the game look a lot worse and I began to think that maybe 30 would be impossible, finally deciding | speeding it up made the game look a lot worse and I began to think that maybe 30 would be impossible, finally deciding | ||
that 20 frames per second added to the realistic look. I actually still would have liked it to be faster.<br><br> | that 20 frames per second added to the realistic look. I actually still would have liked it to be faster.<br/><br/> | ||
"(1-10) Looks Like the Animation is Incredible in This Zelda (Part 2)" has ended. The interview continues from here, so | "(1-10) Looks Like the Animation is Incredible in This Zelda (Part 2)" has ended. The interview continues from here, so |